DEFINITION’S CAMERA LISTINGS
DOP Tony Slater Ling opted for Arri Master Primes on episode 3 of Dracula to exaggerate the new light information and colours of 2020. He switched between coated and uncoated lenses depending on the shot, because, although the coated lenses gave him a clean image, emphasising the modernity of the episode, they were “almost too clean at times” and he liked a bit of flare. Vintage lenses were used for episode 1, which was set in 1897. The Canon K35s aren’t quite that old, but helped Slater Ling achieve a period look. He enthuses: “They’re from the seventies and have a lovely fall-off about them, which worked really well against all the practicals.” The lenses were paired with the Sony Venice. Slater Ling used the large format camera on a previous production and was impressed with its dual ASA ability. “I shot at 2500 ASA, because I needed speed for the practicals. It gave me a clean image and, from the sensor itself, brilliant colour rendering. I was able to shoot at 6K for the first episode, but had to downsize to 4K for episode 3, since my favourite focal lengths on the Arri Master Primes didn’t cover the full 6K sensor size.” The Sony Venice was used with two different lenses to create contrasting looks for Dracula DRAMA SONY VENICE BASED ON:
SPECIFICATION
SENSOR – FORMAT AND SIZE
Full-frame 6K 6048x4032, 36x24mm CMOS
24fps 6K, 60fps 4K
FRAME RATES
PL, E
LENS MOUNT
4096x2160 XAVC, ProRes 422, 59.94p, MPEG-4 H.264/AVC
RECORDING OPTIONS
15+ stops
EXPOSURE LATITUDE
58 DEF I N I T ION | MARCH 2020
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